#batman#dc#bruce wayne#dick grayson#dc comics#tim drake#batfamily#batfam#dc fanart
seen from United States
seen from Singapore
seen from China
seen from United States
seen from United States
seen from United States
seen from Germany
seen from China
seen from United States
seen from Malaysia
seen from Malaysia
seen from Malaysia
seen from United States
seen from United States
seen from United States
seen from Malaysia
seen from Malaysia
seen from Germany
seen from United States
seen from Malaysia
"Le Cabaret du Père Lunette, rue des Anglais", Paul Schaan, 1906
Iosefka’s Clinic dans Bloodborne
Inspiration pour un hôpital en piteux état dans un quartier pauvre de Pandaemonium
LES BAS FONDS Jean Renoir (1936)
Plusieurs « créatures » des bas-fonds tentent d'échapper à leur condition et de s'extraire de la fange. L'un d'eux, Pepel (Jean Gabin), voleur de profession fait la connaissance d'un baron ruiné avec lequel il se lie d'amitié. Il cherche également l'amour sur lequel il compte pour changer de vie.
Un Renoir pas complètement maîtrisé mais duquel échappe quelques fulgurances de modernité : le jeu de certains comédiens (pas forcément principaux) ou le piquant des dialogues. Une analyse sociale moins fine que celle de La grande illusion (chef d'oeuvre tourné par Renoir l'année suivante), un peu condescendant peut-être pour le peuple des bas-fonds à part la relation décrite entre le baron et son valet très grinçante (voire un autre Renoir La règle du jeu).
Bas-Fonds Now Available on Vyer Films in India
On the outskirts of civilization, three young women, Magalie, Marie-Steph and Barbara live a desperate life together. Drowning in alcohol, they both lust for and hate one another, coupling like animals. Yet gradually they become enmeshed in a complex game of love and domination.
Bas-Fonds premiered at the Locarno International Film Festival in 2010, where Le Besco was nominated for a Golden Leopard, screened at the Oldenburg Film Festival, where it was nominated for the German Independence Audience Award, and was the opening night of the 2011 Film Comment Selects series. Scott Foundas, writing for Film Comment, said the film “extends to the viewer a feeling of being pulled so deeply inside this alternate universe that we ourselves lose all sense of which way is up,” and Andrew Schenker in Slant Magazine praised Le Besco’s directorial style, writing it “ensures that we get just as much information as we need without enough lingering camera gaze to invite gawking.” Its release on Vyer Films marks the first time the film has ever been available in India.
